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1 Westmoreland House & Carriageworks | Bristol Cultural Strategy November 2014 Prepared by Futurecity On behalf of Fifth Capital
Transcript of Westmoreland House & Carriageworks ... - WordPress.com
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Westmoreland House & Carriageworks | Bristol
Cultural Strategy November 2014
Prepared by Futurecity On behalf of Fifth Capital
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Westmoreland House & Carriageworks | Bristol Cultural Strategy November 2014
Contents
1.0 Executive Summary 2.0 Aims and Objectives 2.1. Aims 2.2. Objectives 3.0 Context 3.1. The site - short history 3.2. Stokes Croft - a cultural ecology 3.3. Bristol - place & policy 3.4. Scheme design 3.5. Consultation 4.0 Principles 4.1. Activate the public realm 4.2. Activate the ground floor 4.3. Engage a green agenda 4.4. Local delivery partnership 5.0 Process 5.1. Strategy development 5.2. Implementation 5.3. Timetable Appendices
i. Stokes Croft – quotations ii. Cultural project case studies
iii. Governance & commissioning process iv. Access & disability v. About Futurecity
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1.0 Executive Summary
The Grade II* Listed Carriageworks; Grade II Listed no.4 Ashley Road; and Westmoreland House sites are proposed to be redeveloped as a residential-led mixed use development, including the provision of 7,093 sq ft ground floor non-residential accommodation in the Carriageworks and along Ashley Road; provision of 118 residential units on the upper floors and across the remainder of the site; the reinstatement of the historic Carriageworks roof; a new public realm; and new communal landscape garden area. The scheme provides an opportunity for a cultural placemaking programme to provide an inspiring, high quality contribution to the character and life of the site at the heart of Stokes Croft. This strategy defines cultural placemaking projects as a broad range of creative activities that encompass public art and design, socially engaged art, of all artforms (visual, performance, media, etc.) and cultural production including craft, food, sport, literature, music, etc. and creative business and community initiatives. This strategy outlines a set of principles and a process for integrating and delivering a cultural placemaking programme into the fabric and future life of the scheme. The principles draw on previous work in this area, notably the 2011 Community Vision. They focus a programme on examining the main areas of opportunity presented by the scheme: the public realm and the ground floor non-residential accommodation in a context of supporting a sustainable permeability to the scheme. They also seek to direct the programme to work closely with the surrounding community and in the context of Bristol’s Green Capital agenda. A Westmoreland House & Carriageworks cultural placemaking programme has the opportunity to be woven into the scheme by being embedded within its physical design and/or within its on-going management and operation. The rich diversity of existing projects and initiatives at a local and citywide level provides the backdrop and opportunity for truly bespoke programme to be delivered through partnership. This strategy will be developed into a Cultural Programme Delivery Plan to create a deliverable project(s) against an agreed timetable and budget that would be protected by an s106 agreement. The applicant will develop this Plan through immediate work with the surrounding community and Bristol’s cultural sector to explore project ideas and proposals, aligned to this strategy. Implementation of the Delivery Plan will be structured through convening a Cultural Programme Steering Group, coordinated on behalf of the applicant by an appointed programme manager.
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2.0 Aim and Objectives 2.1. Aim
2.1.1. To ensure that cultural placemaking projects are fully integrated into the fabric and life of
the applicant’s scheme.
2.2. Objectives
2.2.1. Site specific. This strategy has been written with all previous visioning work in mind, particularly the 2011 Community Vision. It seeks to continue their areas of consultation and resulting principles. As such, this strategy’s objective is to build on all that is valuable and unique about the site and the local area, and develop a set of clear principles for cultural projects to be delivered against, and a process for developing these projects.
2.2.2. Viable long-term impact. Cultural projects must be manifest as realisable activities and outcomes based on research, consultation and a commitment to quality control and integration within the wider construction project, its programme and the future life of the scheme. An objective for this strategy is therefore to take an holistic approach to the value of cultural activity within the development; from the instant and immediate to the incremental and long term, as appropriate to the scheme’s long term success in, and contribution to, Stokes Croft and its surrounding communities.
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3.0 Context
3.1. The site – a short history 1804 T. & J. PERRY & CO. FOUNDED THE CARRIAGEWORKS MANAUFACTORY Factory and showroom for carriages established at No. 104 Stokes Croft (originally No. 61) covering an area of one and half acres. Original building damaged by fire in the 1950’s. 1860 CONSTRUCTION OF THE CARRIAGEWORKS PREMISES Bristol-born architect Edward William Goodwin commissioned to design the Carriageworks building that still occupies the site today. The building displays key features of the ‘Bristol Byzantine’ style of architecture; three stories of independent continuous arcading; window arches of interchanging purple and brown pennant stones. The ground floor arcades were open to display carriages at street-level with further showrooms existed on the upper floors. Beyond the ground floor showroom, there were offices and a large square yard. Factory facilities included a body-making shop, fitting shops, a forge with 8 furnaces, a wood-drying loft and a wheelwrights’ shop, varnishing-shop and trimming shop, workshop space for leather and upholstery work, a shed for timber and sundry stores for items such as lamps, cushion straps, oil and turpentine. 1912 THE CARRIAGEWORKS PREMISES SOLD TO ANDERSON'S RUBBER COMPANY 1960 THE CARRIAGEWORKS PREMISES TAKEN OVER BY THE REGIONAL POOLS COMPANY 1966 CONSTRUCTION OF WESTMORELAND HOUSE – AN EXPANSION OF THE REGIONAL POOLS COMPANY 1966 THE CARRIAGEWORKS IS LISTED AS GRADE II* 1979 THE CARRIAGEWORKS AND WESTMORELAND HOUSE VACATED 2011 CARRIAGEWORKS COMMUNITY VISION The local community and Bristol City Council developed a Community Vision and planning strategies for the future of the Carriageworks and Westmoreland House site. The key features of the Community Vision are outlined in 2.5 Consultation. 2011 FORMATION OF CARRIAGEWORKS ACTION GROUP (CAG) The Carriageworks Action Group is a broad alliance of local residents from St Pauls, Montpelier, Kingsdown and Cotham, business owners and people from local organisations working with Bristol City Council to address the dereliction of the Carriageworks and Westmoreland House site. It led the creation of the Community Vision for the Carriageworks was written in 2011, which was launched in March 2012.
Sources: http://maps.bristol.gov.uk/knowyourplace/ http://www.bristol.gov.uk/sites/default/files/assets/documents/stokes-croft-character-appraisal.pdf http://bristolopeningdoors.org/old-carriage-works/ http://carriageworks.org.uk/
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3.2. Stokes Croft – A cultural ecology In the face of dilapidation and neglect to the area over the second half the 20th century, today Stokes Croft is undoubtedly one of the most creative and empowered urban communities in the city and represents a role model for collaborative, neighborhood living nationwide.1 Animated twenty-four hours a day, Stokes Croft is defined by a distinct freedom of spirit and a home-brand of social activism. Graffiti covers the frontage and alleyways from ‘The Bearpit’ (St. James Barton roundabout) and Ashley Road Junction. Commissioned by the community and created by local artists - with an international following - Stokes Croft’s street art chronicles the socioeconomics of the area, voices local projects or protests and celebrates artistic expression. For community organisations, such as the People’s Republic of Stokes Croft (PRSC), committed to preserving the unique cultural identity of the area, Stokes Croft is billed as the ‘Cultural Quarter’ of Bristol and the whole of Stokes Croft is an ‘outdoor gallery’.2 The core Stokes Croft offer is around independent cafés, bars and eateries, creative hubs, music venues and social enterprises, exemplified by The Canteen at Hamilton House. The area is also home to a large artistic community, attracted by the studio facilities at Co-exist and Jamaica Street Studios, and community led co-operatives and artist led projects, such as Café Kino and The Cube Microplex. Many food and bar venues also exhibit artists’ work, collaborate on projects and support new forms of creative enterprise to the area. For example, in 2014 The Crofter’s Rights hosted ‘Skipchen’ the pay-as-you-feel-waste café, a pop-up venture by the Real Junk Food Project; Rice n Things recently contributed to Arnolfini contemporary arts centre’s offsite programme of barbeques on Bristol’s downs; this Autumn the PRSC programmed the Stokes Croft Festival of Art, joining up venues across Stokes Croft. 3 This spirit of collaboration and exchange across organisations and businesses in the local area and wider city is key feature of Stokes Croft’s cultural ecology. Stokes Croft has a thriving green economy. Sustainability and local produce are at the heart of Stokes Croft’s independent food establishments. For example, tapas bar Poco won ‘Best Ethical Restaurant’ at the Observer Food Monthly Awards in 2013.4 Other well-known independent, food establishments founded in Bristol, such as Pie Minster, Boston Tea Party and Thali Café, also have branches in the area. Stokes Croft’s culture of independence is an extremely important draw to the area. Consumers, particularly students and young professionals, come to Stokes Croft as a fashionable ‘destination’ to socialize, as a space to work in and shop.5 Stokes Croft serves as an important gateway to the City Centre (from northern and eastern parts of Bristol) and provides a through-route for commuters and consumers to the area. Stokes Croft cuts directly through several, diverse community areas in Bristol (Kingsdown, Cotham, St Paul’s, Montpellier, Gloucester Road) which all contribute to the diverse, social make-up and vibrancy of Stokes Croft. The boundaries between these areas are not clearly defined; to a certain degree, Stokes Croft operates as a central social hub serving all these communities. Appendix ii contains a variety of quotations, reflecting the cultural ecology of Stokes Croft.
1 http://www.edenproject.com/whats-it-all-about/places-and-regeneration/neighbourhood-planning/carriageworks-action-group-bristol 2 http://www.prsc.org.uk 3 http://www.bbc.co.uk/news/uk-england-bristol-29540814; http://www.arnolfini.org.uk/whatson/summer-barbeque-rice-and-things; http://stokescroft.wordpress.com/2014/09/01/stokes-croft-festival-of-the-arts-2014/ 4 http://www.theguardian.com/lifeandstyle/2013/oct/20/best-ethical-restaurant-poco-ofm 5 Neighbouring Gloucester Road is widely known as: ‘Europe’s longest street of independent shops’, http://visitbristol.co.uk/things-to-do/shopping
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3.3. Bristol – place & policy Bristol provides a fantastic context of vision and expertise to support the development and delivery of this strategy.
3.3.1. Bristol – cultural place Bristol has the strongest creative industries sector of any large urban area in the UK, excluding London (Guardian, Nov 2014); major cultural hotspots include Arnolfini, Bristol Old Vic, Paintworks, Pervasive Media Studio, Spike Island, Tobacco Factory, Watershed; major cultural festivals include Encounters Short Film & Animation Festival, In Between Time Festival, Mayfest and Bristol Art Weekender produced by Situations; artist led projects and spaces, creative start-up’s and pop-up ventures are a key feature of the cultural ecology, for example Residence, Antlers Gallery and Pop-Up Bristol http://www.theguardian.com/uk-news/2014/nov/16/bristol-smart-city-future-technology
3.3.2. Bristol – public art policy Bristol Public Art Strategy places public art within the planning and development process; complementary to good urban and building design; integral within new development schemes; as part of social investment in new and refurbished housing, improvements to open public space, arts and health initiatives, towards creative and neighbourhood renewal. The strategy acknowledges wide consultation with artists, planners, architects, key service providers, arts venues and other organisations working together in the public realm. http://www.aprb.co.uk
3.3.3. Bristol – playable city ‘A Playable City is a city where people, hospitality and openness are key, enabling its residents and visitors to reconfigure and rewrite its services, places and stories’ (Watershed). Bristol is leading the ‘Playable City Movement’ with the creation of the Playable City Award – an annual conference and programme of global labs and commissions – and Bristol City Council initiative ‘Make Sunday Special’, closing off city centre streets to motor traffic and opening up public space for people to play with a range of artist projects, street games and urban interventions. http://www.watershed.co.uk/playablecity; http://www.bristol.gov.uk/page/leisure-and-culture/make-sunday-special
3.3.4. Bristol – 2015 European Green Capital The first ever UK city to win the award of European Green Capital, the city is working towards three key goals for 2015: Local empowerment: to work with existing initiatives, networks and local communities to ensure that the value of sustainable living is delivered across Bristol’s neighbourhoods, businesses and the voluntary sector, resulting in attitude and behaviour change; International Reach: To build Bristol’s global profile as the UK’s most pioneering, sustainable city and region, to encourage exports, investment, tourism and economic growth; Sustainability leadership: For Bristol to become the leading forum for UK, European and global exchange in sustainability expertise, in the lead up to the 2015 UN Conference on Climate Change.
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Ashley Ro
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Stokes Croft
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86 spa
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E0-13 Bed
102 sqm
E0-23 Bed102 sqm
E0-33 Bed
102 sqm
E0-43 Bed102 sqm
F0-43 Bed
102 sqm
F0-33 Bed
102 sqm
F0-23 Bed102 sqm
F0-13 Bed
102 sqm
F0-53 Bed102 sqm
BEDROOM 1
LIVING
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Non-residential113 sqm
Public
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B0-71 Bed49 sqm
B0-82 Bed85 sqm
B0-101 Bed50 sqm
ResidentialLobby
B0-21 Bed50 sqm
B0-32 Bed83 sqm
B0-61 Bed48 sqm
B0-11 bed56 sqm
B0-51 Bed48 sqm
B0-91 Bed51 sqm
B0-41 Bed49 sqm
Non-residential89 sqm
Public through route
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BEDROOM 2
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Non-residential140 sqm
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62 sqm
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Substatio
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16 sqm
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D0-12 Bed68 sqm
D0-21 Bed47 sqm
D0-31 Bed47 sqm
D0-42 Bed68 sqm
+25.500
+25.720
+25.500
+26.210
+25.500
+25.500
Non-residential100 sqm
Car
Club
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Residential bike store
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66 spa
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Residential bike store -
26 spaces
CANOPY
Westmoreland House footprint
All setting out must be checked on siteAll levels must be checked on site and refer to Ordnance Datum Newlyn unless alternative Datum givenAll fixings and weatherings must be checked on siteAll dimensions must be checked on siteThis drawing must not be scaledThis drawing must be read in conjunction with all other relevant drawings, specification clauses and current design risk registerThis drawing must not be used for land transfer purposesCalculated areas in accordance with Assael Architecture's Definition of Areas for Schedule of AreasThis drawing must not be used on site unless issued for constructionSubject to survey, consultation and approval from all statutory Authorities
Revision Status: P=PreliminaryC=Contract
© 2014 Assael Architecture Limited
Assael Architecture Limited has prepared this document in accordance with the instructions of the Client under the agreed Terms of Appointment. This document is for the sole and specific use of the Client and Assael Architecture shall not be responsible for any use of its contents for any purpose other than that for which it was prepared and provided. Should the Client require to pass electronic copies of the document to other parties, this should be for co-ordination purposes only, the whole of the file should be so copied, but no professional liability or warranty shall be extended to other parties by Assael Architecture in this connection without the explicit written agreement thereto by Assael Architecture Limited.
General notes
Status R: Date CDMRevision DRN CHK
Drawing notes
A2493 201
Proposed
Westmoreland House
Fifth Capital London Ltd
Date
Drawing Nº
Scale @ A1 size
Assael Architecture LimitedStudio 1350 Carnwath RoadLondon SW6 3EG
T +44(0) 20 7736 7744F +44(0) 20 7736 6677E [email protected] www.assael.co.uk
Project title
Drawing title
Client
Status & Revision
and Carriageworks
Ground Floor Plan
Assael
All information on this drawing is not for construction unless it is marked for construction.
PlanningThe purpose of the information on this drawing is for:
Information
Comment
Client approval
Construction
All information on this drawing is not for construction unless it is marked for construction.
PlanningThe purpose of the information on this drawing is for:
Information
Comment
Client approval
Construction
Purpose of information
Electronic file reference
1:200 Feb '14
R20
ET ESPlanning Submission20 21/11/14
A2493 Plans Working
KEY
Residential use
Non-residential use
Application boundary
0m 5m 10m1m
3.4 Scheme Design
3.4.1 The existing site comprises the derelict Grade II* Listed Carriageworks; Grade II Listed no.4 Ashley Road; and Westmoreland House. The latter two buildings are proposed to be demolished as part of the new development. This application proposes comprehensive redevelopment of the site for a residential-led mixed use development, including the provision of 7,093 sq ft ground floor non-residential accommodation in the Carriageworks and along Ashley Road; provision of 118 residential units (C3) on the upper floors and across the remainder of the site; the reinstatement of the historic Carriageworks roof; a new public realm; and new communal landscape garden area. The Grade II* listed Carriageworks building will be sensitively restored as part of the applicants proposal.
3.4.2 The key physical areas of opportunity within the scheme for embedding cultural projects are seen to be the public realm and the ground floor non-residential accommodation in the Carriageworks and along Ashley Road. Both offer a range of opportunities for physical work and interventions, or operational activities, events etc. Across all areas is the aim to support and develop the permeability of the scheme.
Illustrative ground floor plan of the scheme, showing the five ground floor non-‐residential units, and the two principles areas of public realm, connected by a public through route. Drawing A2493 201 produced by Assael Architecture on behalf of the applicant.
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Illustrative view of the scheme, showing the frontage onto Stokes Croft containing 3 of the 5 ground floor non-‐residential units, and the covered entrance into the public realm Drawing ref A2493-‐AA141029-‐019-‐R1 produced by Assael Architecture on behalf of the applicant.
Illustrative view of the scheme, showing the proposed design of the public realm behind the Carriageworks. This design presents a key opportunity for further interrogation and project proposals from the cultural placemaking programme. Drawing ref A2493-‐AA141029-‐021-‐R3 ES produced by Assael Architecture on behalf of the applicant.
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3.5 Consultation
3.5.1 Community Vision In 2011 the local community and Bristol City Council developed a community vision and planning strategies for the future of the Carriageworks and Westmoreland House site. Key features of the vision include:
• Community uses which might include business units as well as shops, arts space, cafes, performance space and meeting spaces;
• Through route or a new pedestrian route through the site; • Active uses of the ground floor frontage and inside the site; • Residential development of the upper floors including a mix of housing types; • ‘Just adequate’ car parking; • High quality design, integrating good environmental standards
The Community Vision is available online at: http://carriageworksbs6.files.wordpress.com/2012/03/carrriageworks7-medres.pdf
3.5.2 Fifth Capital London During 2014 Fifth Capital London has undertaken a comprehensive community consultation including two public exhibitions, newsletters and meetings with local community and amenity groups, including representatives of the Carriageworks Action Group. Key features of the consultation were:
• Broad in-principle support for Fifth Capital London and Assael Architecture’s plans for the site • The sensitive restoration and setting of the Grade II* listed Carriageworks building was strongly
welcomed • Demolition of Westmoreland House & No.4 Ashley Road was felt to be justified by the majority of people • Housing mix should include some affordable homes • Independent businesses should be supported and retail chains ruled out • Importance of including community & cultural facilities • Support for the creation of a new public open space to the rear of the Carriageworks building, accessed
through one of the arcades • A strong desire to see a route through the site included in the plans • Proposals for the incorporation of public art into the development were welcomed with a debate about the
merits of graffiti art and the possible retention of the skull and crocodile artworks on Westmoreland House • A strong desire to see Bristol-based artists and organisations involved in the public art element of the project • Stakeholders wanted to see credible plans for the management of the scheme over the long term
A full description of the consultation and engagement activities undertaken may be found in the Statement of Community Involvement prepared by Four Communications as part of the planning application for the site.
3.5.3 Future consultation to develop this strategy. This strategy is an outline set of principles and proposes a process for shaping a set of cultural placemaking projects for the scheme. As detailed in section 4.1 below, following submission of their application, the applicant will undertake consultation and engagement work with local organisations to develop this cultural and placemaking strategy into a deliverable set of project proposals and delivery structures.
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4.0 Principles This strategy proposes 4 key principles around which to focus and develop a cultural placemaking programme. They have been formed to commit the scheme to proactively reach out and make a significant contribution to local life, through its physical and social infrastructure. Appendix ii contains a selection of creative project case studies that indicate the range of possible approaches that projects might take in order to fulfil these principles.
4.1. Activate the public realm The last twenty years has ushered in a new movement in contemporary cultural projects to create opportunities for engagement, social interaction and exchange in our public realm. Variously known as socially engaged art, new genre public art or relational aesthetics, these works put the role of the participant at the core of the creation of the work. They open up the possibility of social interaction through the animation and activation of the public realm. The Carriageworks & Westmoreland House scheme will embrace this movement and commission a range of projects to inspire and secure a vibrant active public realm as part of the scheme.
4.1.1. Importance of public realm in a busy urban location Commissioned projects will pay close attention to the specific character and quality of existing and proposed public realm and work to further develop ideas and contribute to its improvement as safe, inclusive and active.
4.1.2. Enabling artists to test out what might work Creative public realm projects should be commissioned with a range of timescales and objectives in mind. Projects can adopt different approaches and outputs for testing out ideas, questioning and enhancing design, and connecting ideas and people together. Bristol has generated a progressive and highly regarded reputation for ambitious public art and creative public projects that demonstrate the breadth of approach that can be taken. As a cultural hub and meeting place for many creative initiatives, Stokes Croft is well placed to promote and support further projects that animate public space in innovative ways.
4.1.3. Enabling local community involvement Projects should consider and implement local community in a range of ways: partnership, consultation, development, advice, promotion, and evaluation.
4.1.4. Embedding into design The Cultural programme should seek to maximise the potential for embedding projects into the scheme design, combining resources to maximise outcomes. This aims to strengthen the programmes full integration within the scheme, and its legacy.
4.1.5. Enhancing long-term success. The success of the public realm should be supported by cultural projects that can continue to play an active role its day-to-day use. This may be achieved by projects whose outcomes are embedded within physical design, but equally by those timetabled to be active post scheme completion and part of public realm life and activity.
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4.2. Activate the ground floor Recent years have seen the need for more varied approaches to achieving viable ground floor commercial space within new developments that are bespoke to their locale. Creative projects combining cultural, community and commercial aspirations have contributed new strategies and approaches to making ground floor space relevant and sustainable, providing innovative solutions for short and long-term use. This cultural programme will explore and seek to develop ideas and proposals for an operational model for the scheme that can bring together the interests of commercial and community use.
4.2.1. Supporting local vitality
The cultural programme will look to and learn from the rich diversity of organisations in Stokes Croft’s and the surrounding communities, and explore project proposals that can progress their approaches and ethos.
4.2.2. Creatively testing models
The cultural programme will explore the potential and the value of different types of short term and longer term projects and organisational structures that can contribute to how the ground floor spaces operate, learning from local, national and international practices
4.2.3. Informing design and operation
The cultural programme will establish an on-going dialogue with the design and build of the scheme to explore how the ground floor design can be detailed to support project proposals. This will extend to integrating the development of a management model that can best serve different types of use.
4.3. Engage a green agenda Cultural projects working within urban design can develop ecological infrastructure to communicate the importance of issues such as localised food systems, urban agriculture and biodiversity planning in the development of sustainable new developments. Bristol is a leader in environmental planning, and as such this strategy holds the principle of engaging with a strong green agenda throughout the scheme.
4.3.1. Supporting a green economy The cultural programme will work to help deliver local participation and engagement in creating a sustainable economy through linking in with local initiatives where appropriate.
4.3.2. Enabling biodiverse amenity and food cultivation space The cultural programme will seek to further develop how the proposed growing and amenity public realm can be integrated and have a relationship with the wider public realm and ground floor spaces. This will include exploring potential partnerships with ecology groups and initiatives, for example Bristol Bee Keepers and Stokes Croft’s sustainable food outlets.
- Connecting up initiatives
The cultural programme will work with the scheme and local community to look at how it can connect and support sustainable enterprise and initiatives located in Stokes Croft and wider city initiatives, for example 2015 European Green Capital strategic goals
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4.4. Local Delivery Partnership 4.4.1. Ensuring the best of Bristol and Stokes Croft play a role in the programme.
There are many exemplary organisations and projects delivering cultural projects in the local area and across Bristol. This cultural programme will endeaour to be implemented through collaboration with appropriate partners who bring experience and knowledge to help create inspirational projects
4.4.2. Supporting local employment and business The cultural programme will explore opportunities for its projects to offer or support local employment, skills development and small business growth initiatives for the local community.
4.4.3. Supporting long-term success and integration of the scheme in community All four principles in this strategy seek to secure the long term successful completion and integration of the scheme into the local environment and economy. Local delivery partnership is key to setting up long-term relationships towards the schemes day-to-day life and role in the community, and the cultural programme will endeavour to honour this principle fully.
5.0 Process
The delivery of the Cultural Placemaking programme for this scheme will be achieved through 3 stages of work: Stage Item Focus
1 Cultural Placemaking Strategy Outline approach 2 Cultural Placemaking Delivery Plan Detailed programme 3 Cultural Placemaking Implementation Live projects
5.1. Strategy development – structuring a Delivery Plan Following submission of this Strategy, the applicant will develop a Cultural Placemaking Delivery Plan to turn the Strategy into a set of deliverable project proposals. Workshops with the applicant’s delivery team alongside meetings and workshops with key local stakeholders and arts organisations in Stokes Croft and Bristol will seek to develop a set of deliverable project proposals and build a partnership structure to deliver them.
5.1.1. Applicant delivery team workshops A series of discussions throughout the Delivery Plan process to further examine the scheme design and programme in detail to identify key opportunities and constraints, and test ideas coming forward.
5.1.2. Local stakeholder and Bristol meetings & workshops The applicant will invite workshops and meetings with local stakeholders and Bristol based creative initiatives and organisations to explore specific ideas and develop a set of proposals.
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5.1.3. Developing structure and content into final plan The Delivery Plan will be developed throughout this process of engagement with local people, groups and the client team. It will develop a viable set of exciting projects that meet the strategic principles set out above. The final Delivery Plan report will be published as a public document, capturing the outcomes of the community consultation and the work undertaken with the client team. It will set out ideas for temporary and permanent projects alongside a budget, programme, and governance structure for the commissioning and delivery of these projects.
5.2. Implementation
5.2.1. Client commitment
The applicant Fifth Capital London has set out a clear commitment to delivering this strategy. A cultural programme management team will be appointed to coordinate the process in partnership with local delivery partners to ensure full implementation of the Delivery Plan. This undertaking will be protected by a s106 agreement.
5.2.2. Project management Reporting to the applicant, the cultural programme manager will undertake the following areas of work: - Project delivery plan creation, presentation and local planning authority liaison - Researching best practice to inform project briefs - Artist/creative agent recruitment, liaison and management - Community engagement coordination - Steering Group coordination - Project monitoring, documenting, and evaluating - Budget planning and management - Coordinating marketing and public communication of projects - Creating and coordinating exit strategies
5.2.3. Integration with the schemes build programme
The Delivery Plan will carefully consider the full programme of works for the scheme and strategically position projects to take advantage of timing and site opportunities. This would include examining the extent to which projects can use the site prior to any demolition and construction, take place during these works, or have a strong presence as part of the completion and on-going life of the scheme. The planning and preparation of longer term or permanent cultural interventions will equally consider the key opportunities for working alongside all teams involved in other aspects of the scheme’s design and build.
5.2.4. Implementation framework
The Cultural Programme will commission and complete projects through the following framework. Details of each of the stages can be found in Appendix iii. Stage 1: Cultural Programme Steering Group (CPSG) convened with agreed Terms of Reference to support the programmes governance. Stage 2: Project Briefs approved through CPSG. This would include an agreed selection
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process of artists/creative/organisations as appropriate (Open call, limited competition etc.) Stage 3: Artist/Organisation selection process Stage 4: Project Proposal development and approval. Appointed artist/organisation supported by CPSG to develop final project proposal and structure Stage 5: Project implemented to completion.
5.3. Timetable
Below is an indicative timetable for activity to progress this strategy. 2014 NOV Planning application submission DEC Cultural programme delivery plan development 2015 JAN Cultural programme delivery plan development FEB Cultural programme delivery plan development Planning application decision by local planning authority APR Cultural Programme Implementation start SEPT Earliest date to start on site 2017 Completion of development works On-going management and maintenance of scheme
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Appendix i – Stokes Croft Quotations
Stokes Croft is the most interesting and culturally diverse area in Bristol, boasting more honesty, beauty and truth than any other part of the City. It is precisely because Stokes Croft has been neglected, that people of all backgrounds and circumstance have learned to co-exist in an enclave of tolerance that few from outside this rich area can begin to understand. PRSC6 The most appealing place in any city is the one that zings with a sense of freedom, the once created by the people who live and work there, unplanned, authentic. In Bristol that place is Stokes Croft. One of the city's most neglected areas, it is that very lack of government and corporate intervention which has allowed the community to express themselves in unlikely ways, creating a bold environment, ever changing and open to all. It is also a place for ideas and experimentation. Such initiative often goes against the grain. The requisite freedoms have been hard won and are continually under threat. So enjoy the independence, diversity and creativity, and tread lightly for it is fragile. Visit Stokes Croft7 A large artistic and creative community has flocked to Stokes Croft, attracted by the area’s lower rents and informal character. The range of shops and services in turn attracts a diverse clientele, which, along with the local community, gives the Conservation Area its unique character and reputation. Consequently Stokes Croft has become known as much for its individuality, culture and diversity, as for its perceived decay. Relatively recently a volume of spray painted art has begun to characterise the street scene, much of this has emerged as an organic effort by locals to improve the area on a limited budget. Bristol City Council, Stokes Croft Character Appraisal (2007)8 Alongside the buildings of architectural quality, a number of properties are blighted by a sense of physical dereliction and decay. This reflects the two-sided nature of Stokes Croft: whilst enjoying pockets of regeneration and revival, some the result of recent grant funding, the evidence of gradual deterioration is still very much a feature. In comparison with other areas of the City, Stokes Croft contains a high volume of vacant buildings and gapsites awaiting appropriate re-use and development. Most notable are buildings such as Finance House at no. 80 Stokes Croft, and Westmoreland House, which, in their current condition, are detracting from the overall quality of the conservation area. Bristol City Council, Stokes Croft Character Appraisal9 Stokes Croft is an independent state of mind near the centre of Bristol. Old Teasel10 Living in Stokes Croft is an endless adventure. What is immediately inspiring about the place is the brightness in colours you see; from the graffiti on the walls to the character-filled people, everyone has a vibrancy that lasts right through the winter. Stokes Croft is bursting with a diverse community that keeps it alive and kicking everyday of the week. One of the first things I noticed when I moved here is the amount of independent businesses that have a large impact on the people who live here. It makes for a rare self-governing community spirit that is hard to attain in more recognised and chain-filled areas like Cabot Circus. Honor Tuttiett, freelance writer and Stokes Croft resident11
6 http://www.prsc.org.uk 7 http://www.visitstokescroft.co.uk/ 8 http://www.bristol.gov.uk/sites/default/files/assets/documents/stokes-croft-character-appraisal.pdf 9 http://www.bristol.gov.uk/sites/default/files/assets/documents/stokes-croft-character-appraisal.pdf 10 http://www.discoveringplaces.co.uk/bubbling-up-in-stokes-croft 11 http://www.rifemagazine.co.uk/2014/08/love-stokes-croft/
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What was a few years ago a scruffy lair of crackheads and clubs has been spirited into Bristol's Most Bohemian Neighbourhood, magnificently free of chain stores, alive with alternative ways of living. Tom Dyckhoff, Guardian.12 Stokes Croft is not just another shopping area; it is a community of residents and businesses as diverse as the area’s famous street scene itself. “From unusual independent shops, to great pubs, real clubs, fabulous food, a wealth of artist studios, ever changing exhibitions and cultural activities, but also many projects and businesses aimed at the local community and its multitude of alternative lifestyles. Eva Stuetzenberger, Retail Sector Development Manager for Destination Bristol, Chair of the Stokes Croft Traders’ & Business Forum13 When the Canteen was being created a huge sign that read ‘EVERYBODY’ was placed over the front windows during the build. We wanted to welcome everybody who shared our vision then – and we welcome everyone who shares our vision now. The Canteen14 ‘THINK LOCAL – SAY NO TO TESCO’ Large graffiti slogan, above Love Bristol bakery, Nine Tree Hill
We built a working yard, with a dedicated and lit Outdoor Gallery, with space to run workshops, to curate the whole of Stokes Croft as an Outdoor Gallery, giving local people the capacity to have a direct, physical input into how their communal space develops. PRSC15 PRSC will seek to promote and bring to fruition the notion of Stokes Croft as a Cultural Quarter, as a destination. PRSC will seek to promote creativity and activity in the local environment, thereby generating prosperity, both financial and spiritual. PRSC will work in all ways to enhance the reputation of Stokes Croft as a globally renowned Centre for Excellence in the Arts, both in its own actions and by encouraging the action of others. PRSC believes that the strength of the local Community resides in its creativity, tolerance and respect for each other… PRSC Mission Statement16 High on the wall of one of Stokes Croft's cafes reads the epithet: "Stokes Croft – Beauty from Ashes." It is a sentiment everyone seems to echo - that the area is gradually being transformed. Patrick Kingsley, The Guardian 17 Small as it is, Stokes Croft is the most vibrant, active, creative, revolutionary area currently in Britain. Katy Bauer, curator of the Stokes Croft Museum18 The catalytic role of the artist as agent for change in Stokes Croft through the People’s Republic of Stokes Croft. The Academy of Urbanism, Urbanism Awards Assessment19 12 http://www.theguardian.com/money/2012/jun/29/lets-move-to-stokes-croft-bristol 13 http://www.fmbristol.co.uk/article/bristol%E2%80%99s-stokes-croft-traders-launch-new-visitor-website-and-leaflet#sthash.vQ1zWtDV.dpuf 14 http://canteenbristol.com/about-the-canteen-bristol/ 15 www.prsc.org.uk 16 http://www.prsc.org.uk/mission.htm 17 http://www.theguardian.com/uk/2011/may/26/stokes-croft-protest-tesco-rioting 18 http://www.theguardian.com/uk/2011/may/26/stokes-croft-protest-tesco-rioting 19 http://www.academyofurbanism.org.uk/st-pauls-and-montpelier/
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In Stokes Croft in Bristol, ‘guerrilla urbanism’ tactics were used to acquire verges, walls and abandoned buildings to creatively improve the fabric of the neighbourhood. AHRC, Connected-Communities research20 Together we have developed a community vision that captures the ambition of the area while paying attention to the commercial realities that play an essential part in enabling development. For years the re-development has been seen as an impossible challenge. Now, it is seen as a real possibility. Lori Streich, Carriageworks Action Group (CAG), on the Carriageworks Community Vision21 E.W Godwin, the "Patron Saint of Stokes Croft” PRSC commissioned print (2014)22
20 http://www.ahrc.ac.uk/Funding-Opportunities/Research-funding/Connected-Communities/Scoping-studies-and-reviews/Documents/Creative%20participation%20in%20place%20making.pdf 21 http://www.edenproject.com/whats-it-all-about/places-and-regeneration/neighbourhood-planning/carriageworks-action-group-bristol 22 http://www.prsc.org.uk/mission.htm
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Appendix ii – Cultural project case studies
1. Maria Thereza Alves, Seeds of Change, Bristol, 2007 -. ‘Seeds of Change' is the overall title of an ongoing ballast seed garden project from Brazilian artist Maria Thereza Alves resulting in the creation of a permanent Floating Garden sited on Bristol’s Floating Harbour and a series of ballast seed gardens established by communities across Bristol. The project is delivered through the partnership of Arnolfini, Bristol City Council, University of Bristol (multiple teams), schools and community groups ‘Seeds of Change’ explores ballast seeds as a living embodiment of Bristol’s history of trade, reflecting the different routes travelled by Bristol merchants worldwide. Between 1680 and the early 1900's ships' ballast - earth, stones and gravel from trade boats from all over the world used to weigh down the vessel as it docked - was offloaded into the river at Bristol. The ballast contained the seeds of plants from wherever the ship had sailed. Alves discovered that these ballast seeds can lie dormant for hundreds of years, but that by excavating the river bed, it may be possible to germinate and grow these seeds into flourishing plants. The Floating Garden, creates a living history of the city's trade and maritime past. Sustainability is an important aspect of the project, and both the garden’s irrigation system - using water pumped straight from the floating harbour - and its lighting system, are powered by solar panels. http://www.arnolfini.org.uk/learning/projects/seeds-of-change/ballastseedgarden
Photograph by Max McClure
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2. Tony White, Missorts, Bristol, 2012 –. Missorts is an immersive soundwork, by writer and novelist Tony White, produced by Bristol based producers, Situations, as a permanent public art work for Bristol. The work takes the shape of a free, downloadable, location-aware mobile app for smartphones, triggered by GPS as you walk from Temple Meads train station towards the Redcliffe area of the city Inspired by Bristol’s rich, radical literary heritage and set against the backdrop of St Mary Redcliffe church, the soundwork features stories by ten distinctive new writers, accompanied by new musical works specially commissioned from composer Jamie Telford for St Mary Redcliffe’s Harrison and Harrison organ The project combining contemporary fiction, music and pioneering creative technology and offers a new experience of the city. The urban jumble of new office blocks, bus-stops and historic landmarks set the scene for stories whispered in your ear. As you move through the streets, characters reoccur telling of lost love, unrealized aspirations and fantastical visions. http://www.missorts.com/ http://www.situations.org.uk/projects/tony-white-missorts-2012/
Photograph courtesy of Situations
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3. Futurecity, Clay & Glebe Farm, Cambridge, 2010 - 2018 Clay & Glebe Farm is a residential development by Countryside Properties comprising of 3500 new homes and an adjacent 120-acre country park. It is a key part of the ‘Southern Fringe’ of Cambridge, one of three major growth sites for the city. It includes a central public square hosting community services and retail facilities, a primary school, a secondary school, allotments, community gardens, and a network of play and recreation spaces. Marketed as Great Kneighton, it is scheduled for completion in 2018. An integral public art strategy was written in 2010 that embeds a set of six public art projects into the fabric and life of the development. The projects respond to the strategy’s themes of integration and connectivity, history and heritage, biodiversity and food cultivation. Local arts organisation Cambridge Curiosity and Imagination began the programme with a range of workshops with existing residents to explore the areas identity and what people felt art could bring to the changing place. A resulting publication offered an insight into the community for all subsequent artists. Nils Norman is developing a set of projects across the country park under the theme ‘Edible Corridor’. Jeanne Van Heeswijk is creating a range of platforms for community dialogue. Simon and Tom Bloor are developing embedded art interventions that encourage informal play and interaction for all ages across the entire site. Sean Edwards is creating a set of projects for resident participation that draw on the agricultural heritage of the site. Heather & Ivan Morison have helped design the central public square, including a major focal point artwork and a programme of projects for the new community centre. London Fieldworks are working with residents to support local biodiversity, creating new homes for wildlife and a resultant film project. The artists’ integration into the various layers of the scheme is intended to take a long-term view of how contemporary arts practice can interrogate and contribute to a changing place. http://www.greatkneighton.co.uk/index.php?public/great-kneighton/public-art
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4. Space Makers Agency, Brixton Village, London, 2009-10. In 2009 Space Makers Agency worked with Lambeth Council and Brixton Market’s landlords to bring a number of empty properties into temporary and potentially longer-term use. Their initial strategy was to offer three months free rent to anyone with an idea for reusing one of the spaces. Proposals came in from a range of applicants suggesting music rehearsal spaces, to cafes, shops and meeting spaces. The selected projects have brought animation to the market, increasing footfall and thereby contributing to the local economy. Significant work was required to make it work, but financial support from the owners supported efforts by everyone involved to develop a project that has strengthened relationships between the owners, local authority, and the local community. The integration of cultural and social activity has increased footfall, supporting a better local economy, and several short term tenants have gone on to become longer term tenants. “We took the keys to the empty units, and designed a project to rebuild the social life of the market, by offering three months free rent to anyone with an idea for reusing one of the spaces. In response, we received 98 proposals in one week, with people using the units for band rehearsals, galleries and meeting rooms, along with shops, cafes and proto-bars. Together, these uses brought new life to the market, complementing the existing traders, and leading to the permanent establishment of a thriving, locally powered economy in Brixton. By the time we finished our work in 2010, the market was fully let for the first time since 1979”. Space Makers Agency http://www.spacemakers.info/projects/brixton-village
Photograph by Gemma Thorpe
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5. Jeremy Dellar, Procession, Manchester, 2009. To help launch the 2009 Manchester International Festival, artist Jeremy Deller created a unique public realm project that took the form of a procession down Deansgate of local people in front of crowds of around 25,000. To achieve this, Deller worked with groups and individuals from across Greater Manchester for over a year. The project became a self-portrait of the city with around 1,700 people taking part. Participants included local ramblers, a Scout and Guide Marching Band playing The Fall’s Hit the North, mobile libraries, modified car enthusiasts playing a new work by the Black Out Crew and Big Issue sellers, many of them marching under beautiful banners specially made by Ed Hall. The procession itself was just one element of the project, which also included a major exhibition at Cornerhouse in Manchester, and an ongoing online project led by Let’s Go Global: www.manchesterprocession.com
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Appendix iii – Governance & Commissioning Process
Carriageworks Cultural Programme Steering Group The cultural placemaking programme management requires tenacity and sensitivity. The applicant will establish a Carriageworks Cultural Programme Steering Group to support the implementation of the Programme. The appointed project manager will coordinate the Group’s activities on behalf of the applicant. The Steering Group will have broad but relevant representation, covering, planning, design, community, culture, with specific expertise areas invited to particular meetings as appropriate. A base representation on the Group would be as follows: • Cultural Programme Manager • Client Developer • Design / Construction Team • Local Stakeholder • Local Stakeholder • Local Stakeholder • Independent Cultural advisor • Local Planning Authority (observation) The Steering Group would adopt and develop Terms of Reference to support its operation. Broadly, its remit would encompass:
• Assist with the process of creating a long list of artists • Contribute to and review project briefs • Select the artists/organisation leads for projects • Support and advise on aspects of all programme implementation • Act as project ambassadors • Support on-going communication between projects and key stakeholders • Safeguard the quality and integrity of the commissioned projects • Support a robust and transparent reporting service to the local planning authority
Project Commissioning Process Project briefs Developing clear briefs for all projects is an essential step in implementing the programme. A brief features at two points in the commissioning process: at the start, to guide the shortlisted tenders in their engagement with the selection process, and as a final edited document, to be appended to the appointed artist/organisations Commission Contract, to guide them and the client team in the implementation of the project. A brief should be clear but not too prescriptive. The artist/creative practitioner’s role is that of a professional, working alongside the design team and the community, and this status should be reflected in the brief, the contract and fees level. The applicant will provide a technical constraints document that will inform each of the project briefs that entail any opportunities for integration with the built environment. The Programme Steering Group will inform aspects of each project brief composition.
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Key elements of a cultural project brief are:
• Aims and objectives of the commission • Context – history of project, information about commissioner • Description of the site(s): environmental, geographical, social and cultural history;
conditions; usage; physical or technical constraints • Project scope and anticipated role of artist/project lead • Selection method and criteria • Submission requirements • Stakeholder consultation / engagement • Project management structure – team roles and responsibilities • Future responsibility considerations • Documentation requirements • Copyright and ownership • Budget – what is and isn’t covered (e.g. fees, travel, expenses, professional advice,
research and development costs, production) • Timeframe and phases (key dates e.g. anniversaries, launch dates) • Contact list – naming main point of contact
Project commissioning The programme will adopt a selection process of researching best practice within the relevant creative fields and developing a long-list of candidates deemed appropriate and exciting in the context of a project brief. Through the steering group, long lists will be reduced to a shortlist, and taken forward to selection via interviews. The applicant will therefore work with its Steering Group to consider a range of appropriate individuals and/or organisations with experience of working in the public realm, collaborating with other disciplines such as architecture, and for an intellectual rigour in their approach to creative solutions. Some practices will align themselves to the making of physical form, while some will be more conceptual in their approach. The applicant recognises that either approach may be successful, as projects are often delivered through a collaborative process between the artist/practitioner, the design team and specialist third parties (fabrication, community engagement etc.) as required. Project development and approval The cultural programme steering group will oversee the programme through to completion. As such it will act as the forum for supporting the development of all projects. Following selection and appointment of project leaders/artists, timetables will be put in place for developing, presenting and reviewing proposals. This will accommodate any agreed need for wider stakeholder engagement along the way, in particular in line with the programme approval process agreed with the Local Planning Authority.
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Appendix iv – Access & Disability
The needs of disabled people and an awareness of access issues are an important consideration for this Strategy. All aspects of the scheme and the work integrated as a result of the strategy will be developed with specialist guidance, in partnership with the applicant team. Every aspect of this strategy will be developed to ensure disabled people, older people and children will be able to engage with every element of the scheme, including the commissioned cultural projects, whether integrated into the design, or programmed as activities for public participation. The fundamental access principle of this cultural strategy is open access and engagement, to successfully create and environment that the community utilise and enjoy. As such the experience for people of all ages and all backgrounds including those with disabilities or differing abilities will be taken into account. All key design and access policies from the local planning authority will inform all cultural project briefs and on-going development of all commissioned projects. In summary, this cultural platemaking strategy will commit to cultural outcomes that follow the following principles:
• Can be used safely, easily and with dignity by all regardless of age, gender ethnicity or economic circumstances.
• Are convenient and welcoming with no disabling barriers, so everyone can use them
independently without undue effort, separation or special treatment
• Are flexible and responsive taking account of what different people say they need and want, so people can use them in different ways
• Are realistic, offering more than one solution to help balance everyone’s needs, recognizing that one solution may not work for all.
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Appendix v – About Futurecity
Founded by Mark Davy in 2007, Futurecity opened a Cambridge office in 2010 to support a bespoke approach to commissioning public art and cultural projects outside of London, working with a city’s unique offers across the arts, culture, science and technology to create authentic, innovative new places in areas of urban change and growth. Futurecity develops collaborative relationships between clients, artists and other disciplines, whether science and technology, culture, education, planning and policy. We seek out partnership opportunities with cultural organisations local to sites, championing artists who are changing the way art is presented within the built environment and new public realm. Through this approach we devise cultural strategies, broker cultural partnerships and deliver art projects from inception to completion. Futurecity are responsible for a large number of international multi-disciplinary art projects, including Mark Wallinger’s 50 metre ‘White Horse’ part of a placemaking strategy for Ebbsfleet Valley UK, and the recently unveiled 78 metre Richard Wilson sculpture ‘Slipstream’ for Heathrow Terminal 2: Queens Terminal. Outside London Futurecity are commissioning leading local, national and international artists to contribute to cultural placemaking initiatives. In the heart of the cities like Cambridge, artists are creating major architectural and public realm artworks based on the city’s rich history and heritage, and working with institutions such as Cambridge Botanical Garden and Fitzwilliam Museum. Across Cambridge's major growth areas, we are working with cultural partners such as Kettle’s Yard and Wysing Arts Centre to commission emerging UK talent alongside leading international artists to work with archaeology, architecture, biodiversity, energy conservation, and mobile technology to deliver inspiring projects integrated into the fabric of new build schemes and offering genuine public engagement opportunities for residents, workers and visitors. We aim to bring this ethos and approach to Bristol.
futurecity.co.uk Cambridge London Cambridge Junction 57 Clerkenwell Road Clifton Way, Cambridge CB1 7GX London EC1M 5NG 01223 403364 0207 407 0500 [email protected] [email protected] @futurecity_east @futurecityblog
